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Discussion in 'The Stomp Box' started by texmck54, Sep 18, 2017.
Lol welcome to the internet!
Simple and good effect to have that can be used in different ways to improve your sound. Try all over the signal chain too. Doesn't just have to be Tele->comp->amp.
Serious answer time - MXR Dyna Comp is it worth buying? Not new @ $79.99, because the Biyang CO-10 is available for $38
Fair. Pretty healthy used market for it though.
True! But in my opinion, the Biyang is the better unit, and it's priced new near the low end of the MXR's used price range.
Is the Dynacomp worth buying? At the right price, yes. Is it a holy grail pedal? No.
The "takes something away" part is the reason one might be better off starting with a more modern comp that allows you to blend some attack back in while keeping the sustain, yet also limiting the dynamic range.
You can have your polish and some dynamics too.
I'm not well schooled on comps but have owned Dyna Comps and Boss comps for more than ten years and never liked them.
The Pigtronix became useful in two minutes.
And there are even better modern comps than the oldish Pigtronix line.
Also worth noting is that some here like their "better" script Dyna Comps, which are probably better than what Dunlop sells today with the MXR brand.
I have compared other Dunlop MXRs to MXR built MXRs and they were vastly different. There are plenty of places that mod new Dunlop Dyna Comps to MXR script specs.
A DynaComp is it's own thing. It changes everything and you may like it or you may not. But you can't know until you put it in your rig with your guitar played by your fingers.
I bought a used one for cheap, loved it until I didn't, then sold it and got my money back. If you can do the same, I'd recommend it.
I've been using one of these since the 70's, works for me on Bass, or with an acoustic.
Buying a dynacomp won't tell the OP if he likes compressors or not. It's only gonna' tell him if he likes that compressor type or style.
I used a 70's script dynacomp years back. Made me nuts! Even with the sustain set almost off, it was still too much 'pop'.
Since then, I've tried a whole lot of different compressors. Boss compressors work best for me, you can get a fatter tone, without having your base sound
If I were gonna' have a dynacomp style, I'd go with a super comp, or the Dunlop/MXR bass compressor.
I used to have a 78 dyna comp IIRC, its the only compressor I've ever had. It was great for nice sustained lead type stuff. Depends on ones perspective IMO.
I had one. Didn't like it.
To me, it sounded dirty, dark and didn't give me the sustain i was looking for.
Ended up dumping jut and paying up for a used Wampler Ego. Much more versatile and doesn't effect your tone.
With a Dyna Comp, it has a preset attack, so higher comp levels tend to swell too much. All the old Nashville guys used them with the volume up and the sustain way down, so you got a nice kick to the sound and slight compression, that's how I set mine. I have since gotten a clone (can't remember the brand at the moment) that has a variable attack/release and it is more flexible for higher compression. I think that is what the Super Comp has. Also have a great Ross Comp clone (BBE Bench Press) and their Orange Squeezer clone (Main Squeeze, later called the Orange Squash) that have added attack controls, no longer made but can be found used. Both are great, not expensive at the time, especially the Main Squeeze which sounds great at any compression level.
Obviously, a wide variety of opinions here. My advice would be to try and plug into one at a shop and hear for yourself. The dynacomp does a certain thing really well. If you're trying to get that sound it is a simple, affordable, rugged, plug and play option. If you just want a great compressor you might want to explore some newer circuit designs that are quieter, more tweak-able, and color your sound a little less.
I picked up an old one for $40 (no LED, along with the box and manual).
I love it.
Yeah, me too! To me when it comes to squash tone, the dyna comp has it nailed. The pix in the above post is very close to the settings I run mine. Platefire
I read somewhere that the traditional setting for Nashville guys was the two lines on the pots pointing at each other, or close to that. Low Sensitivity, high Output. Nice tonal kick and just a little comp without "pumping". An attack pot added gets more sounds, or buy a similar comp that already has an attack/release (manufacturers use those terms interchangeably) control on it, like the Super Comp or the others I mentioned earlier. The original circuit has basically one usable sound, but it's a nice one IMO.